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<h1>
    BOB MARLEY
</h1>

<div class="quote">
    Tell me, you were expecting some stereotypical Jamaican catch phrase here, weren't you, ya dumbarse?<br />

    <img alt="Ladies and rastamen, I and I present you: Robert Nesta Marley" src="images/marley.png" />
</div>

<div class="members">
    <a href="http://www.southparkstudios.com/games/create.html">South Park Create-A-Character</a>
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<p class="albumList">
  <a href="#fire">Catch A Fire</a><br />
  <a href="#burnin">Burnin'</a><br />
  <a href="#dread">Natty Dread</a><br />
  <a href="#vibration">Rastaman Vibration</a><br />
  <a href="#exodus">Exodus</a><br />
  <a href="#kaya">Kaya</a><br />
  <a href="#survival">Survival</a><br />
  <a href="#uprising">Uprising</a><br />
</p>

<p>I have to confess to you that, for some time, I was a faux Marley fan. As in, I <em>knew</em> he was good and I liked him, even knowing very little of his work. I hadn't listen to even a single album by him before I considered him as Good Stuff&trade;. Not that I think that's a crime, but it stands dangerously close to Fanboyism. And the real danger of that is that Brazil is cluttered with Marley fanboys, but the kind of fanboys that adore him, hang posters of him in the walls, make dreadlocks in their hair, and listen to random reggae without having a clue about who Marley truly was, or what Rastafarianism truly is.</p>

<p>The result of that was a wave of reggae fever in Brazil. We were taken over by dozens of reggae bands, but the kind of commercial, bubblegum reggae that could make a true Rastafarian tear his dreadlocks out of his head in fury (and keep in mind that some Rastafaris consider even Bob Marley himself as a sell-out). They were turning Reggae into fashion. Read that phrase again and understand it: they were turning a <em>serious religious belief and philosophy into commercial appeal</em>. I have nothing against pop as a genre, but there is a limit to everything. And suddenly, there were dozens of white-skinned fellas with dreadlocks playing romantic songs with "chuck-a chuck-a" rhythms and looking cute to the girls. No, sorry, that's not reggae. I never really liked that "style" of reggae, and when I heard a Marley song on the radio, I recognised it and liked it. And so, I was a faux Marley fan.</p>

<p>My first true contacts with Bob Marley were through my cousins. They were true reggae afficionados, but the kind of afficionados that listened to everything Marley put out, and also liked Peter Tosh and everything in between. I started to get more interested in the guy, and took the next step: picked up some albums. Guess what? It <em>was</em>, in fact, Good Stuff&trade;, and I liked it immensely. But the real surprise came when I started to pick up more and more albums, and realised that Bob Marley was good in many things that I never had imagined before. Reggae is less stereotypical and formulaic than I initially thought, and I came to admire him and appreciate his work even more. <em>Now</em>, I can consider myself as a fan of him without the fear of being fanboy. Up yours, Brazilian reggae-pop - Bob Marley &amp; The Wailers is the true way to go.</p>

<p>About the band? Well, they were in the business right from the early 60's, when there was no reggae yet. Marley released his first ever Ska single on Chris Blackwell's newly formed label, Island Records (yes, <em>that</em> Island Records), and after that, went through a long odyssey with numerous contracts and managers along with his band, The Wailers. Slowly, the musicians started getting influenced by North American Blues, R&amp;B and Gospel, and the music became Reggae as we know today. The Wailers were Bob Marley, Peter Mackintosh and Bunny Livingston, and they released their first LP in 1972, entitled <strong>Catch A Fire</strong>. After their second offering, <strong>Burnin'</strong>, Bunny and Peter left the band to follow solo carreers - as all my sources seem to confirm. And in fact, Peter Tosh reached a successful solo carreer. But then, Marley gathered more musicians and created a new version of Bob Marley &amp; The Wailers, with musicians like the I-Threes (three female backing vocals, one of them Rita Marley, Bob's wife) and the Barret brothers: bassist Aston and drummer Carlie. The albums he produced then were big hits outside Jamaica, seeing that Eric Clapton had introduced Reggae to Europe and the US with his chart-topping cover of 'I Shot The Sheriff'. As history has it, Bob died in 1981 with cancer. I'll avoid inserting some stupid clich&egrave; of "but his legacy still lives one", so just make up your own mind.</p>

<p>Reggae might not be for everyone. The most impatient listeners will probably get annoyed at the sameness of a Reggae record, but the most relaxed and tranquil ones will just enjoy the several little twists and hooks in the music. Bob was a truly gifted composer, and he managed to make total <em>wonders</em> out of Reggae music through his carreer. Just check it out for yourself: you'll be amazed at the compositional talent he reveals in several tracks, or by the sheer power and sincerity of his words. After all, he was a devout Rastafarian, and when he sang about Jah and his beliefs, he <em>truly</em> meant it. He wasn't trying to impress his audience, after all, a la Bono. He was just speaking to his fellow Rastamen, and if you give up your prejudices, you'll probably be moved too. You can just forget about the messages to the oppressed people of Jamaica, and just concentrate in the humane messages of love and friendship. Just give in to your heart and to the Reggae rhythm, pick up a copy of <strong>Exodus</strong> or <strong>Natty Dread</strong> and enjoy. Oh, and don't forget the ganja, of course, if you have some.</p>

<p class="guide">
  The Bob Marley &amp; The Wailers' Discography Guide:
</p>
<ul>
  <li>Best album for starters: <strong>Natty Dread</strong> - Some of the most immediately striking and catchy songs are in this album. Get it first to get attuned to that whole Rasta vibe.</li>
  <li>Essential album: <strong>Natty Dread</strong> - It's also one of his most comprehensive albums, with the full Marley trademark.</li>
  <li>Best album: <strong>Exodus</strong> - A statement so strong and confident, it's almost frightening.</li>
  <li>Worst album: <strong>Survival</strong> - It's just the least rewarding album if you're not a <em>real</em> reggae follower... If you <em>are</em>, this will probably be one of the best.</li>
  <li>Best compilation: <strong>Legend</strong> - You must have heard about this one millions of times before. Heck, you might even <em>have</em> it already. If you just want to have some Marley in your collection, you may want to pick it up.</li>
</ul>

<p><em>Reader comments:</em></p>

<div class="commentsHeader">
      <strong><a href="mailto:ccapelli@terra.com.br">Christian Rose</a> (January 23, 2005):</strong>
</div>

<div class="comments">
<p>Entao v&eacute;io.. sei l&aacute;! N&atilde;o sei nem como fui parar no seu site, ou melhor, estava procurando uma cifra da m&uacute;sica Ride Natty Ride do Bob. Acabei lendo umas coisas sobre como os brasileiros tratavam o Reggae e foi a&iacute; que eu quiz saber quem era voc&ecirc;, e como poderia saber do que os Brasileiros achavam do Reggae. Enfim, achei bem legal seu site, s&oacute; gostaria de saber a raz&atilde;o pela qual seu site &eacute; em ingl&ecirc;s! Ah mano.. parab&eacute;ns pelo n&iacute;vel do teu ingl&ecirc;s..! Impressionante!</p>

<p>Abra&ccedil;o!</p>

<p>H&eacute;lcio!</p>

<p><span class="edNote">[editor's note: here goes a translation to the non-Portuguese speakers:]</span></p>

<p><span class="edNote">So, man... I dunno! I don't even know how I ended in your site, or better, i was looking for a tab of Bob's 'Ride Natty Ride'. I ended up reading some things about how Brazilians treated Reggae and then I wanted to know who you were, and what Brazilians think about Reggae. So, I found your site really nice, and I just wanted to know the reason why your site is in English! Oh, man... congratulations for your English! Impressive!</span></p>

<p><span class="edNote">[editor's note: Well, I say thank you a lot for all the nice comments! And if you're reading this right now, the site is in English because the vast majority of people on the Internet reads English, and this site wasn't aimed particularly at Portuguese-speaking people, you know. Its birth was motivated by George Starostin, who was Russian, but also wrote his IMMENSE website in English. I even considered putting up a Portuguese version of the site, but translating the entire thing at the moment would be a HUGE job. Well, I hope this answers your question. Thank you again!]</span></p>
</div>

<p><a href="mailto:sirmustapha@gmail.com">Mail your ideas</a>!</p>

<hr />

<h2 id="fire">Catch A Fire (1972)</h2>
<p class="medium">
  Best song: <big>Concrete Jungle</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Concrete Jungle ++</span></li>
  <li>Slave Driver <span class="good">+</span></li>
  <li>400 Years <span class="good">+</span></li>
  <li>Stop That Train <span class="good">+</span></li>
  <li>Baby We've Got A Date (Rock It Baby) <span class="good">+</span></li>
  <li><span class="good">Stir It Up ++</span></li>
  <li>Kinky Reggae <span class="good">+</span></li>
  <li>No More Trouble</li>
  <li>Midnight Ravers</li>
</ol>

<p>A groundbreaking release for Jamaican music, and an excellent album already. <strong>Catch A Fire</strong> is a surprisingly charged album, filled with protest and bitterness. Maybe you would expect something light and uplifting for the people to celebrate? No, forget about it. This is only light and uplifting at certain spots. Everywhere else, there are words of anger against Babylon (the Rastafari term for the big white establishment that oppresses the African people, notice) and slavery. It isn't even a word of hope for the people. You know? That would be for the latter stages. First, you show your disapproval, and <em>then</em>, you do something about it.</p>

<p>What an absolutely stupid paragraph. I just had no idea how to introduce this album. Well, but this is basically it. I don't exactly remember what the album title is about: either "Catch a fire" is a term related to ganja (and Bob <em>is</em> smoking a big spliff on the album sleeve) or the Rasta equivalent of "burning in Hell". I'm not sure - it may probably be both. But I'd bet it's the latter: a word of warning to the oppressors. The initial stretch of songs drives the point home very well; the rest of the album lightens up somewhat, but the first four songs don't shine any light at all. "No sun will shine in my day today", indeed. That's the line that opens the first song, 'Concrete Jungle'. And what an amazing song it is! Not really because of the lyrics or message, but because of the <em>music</em> itself. That ominous intro is a unique moment in Marley's catalogue: the echoey guitars, the organ, the sparse bass and plop-plop bass drum gradually come out of the darkness and build intensity in a way that would make Pink Floyd proud. And then, it takes the shape of a relatively fast, but dark and frightening reggae groove. The vocal melodies are simple but sharp; the harmonies are just perfect; and even the guitar solo fills in the slot pretty well. Notice that all those guitar solos and saxophones you'll hear were overdubs added by Chris Blackwell for the Island releases: the versions of the albums released by Marley's own label, Tuff Gong, were stripped of those ornaments to let the music be more "rootsy".</p>

<p>That song could easily demolish all the beliefs of the uninitiated in Reggae, who think it all sounds the same, with two or three chords repeated over and over. I and I just rub 'Concrete Jungle' all over dem faces and make dem weep, mon. The following song is shorter and slower, but no less efficient: the smooth harmonies are, in fact, more ominous than they might sound. Bob evokes the people who were taken from their homes in Africa and thrown in slave ships, and then chants how "the table is turned". Hooh, if you're not, at least a little bit, frightened by that, then it's probably because you're an actual Rasta. And then, there are the two songs for which Peter Tosh is responsible for: '400 Years' begins with heavy, discordant bass and guitar notes, and launches in a slow, melancholic dirge about slavery, but this time with the promise of a land of freedom (or is it?). And 'Stop The Train' sounds a little bit brighter, with a beautiful guitar riff and heartfelt breaks inbetween the choruses. Ohh, beautiful, indeed.</p>

<p>But the side ends, surprisingly, with a wonderfully na&iuml;ve and romantic groove by Marley, 'Baby We've Got A Date'. And can you possibly resist Bob's enchanting singing and the backing vocals here? The opposite side opens up with yet another slow, romantic groove: the "updated" version of an old Ska number, 'Stir It Up'. Here, it becomes a gorgeously smooth and gentle singalong, driven by a bass line and the irresistible rhythm. Man, you definitely can feel when Reggae is played with soul and emotion, can't you? These guys can make this simple reggae groove both ominous and mesmerising ('Slave Driver') and romantic and invitative ('Stir It Up') in the wave of the hand. And that is what I consider talent.</p>

<p>The two final tracks are a more charged in protest and social critique, and fall kind of short in the hook department - <em>kind</em> of short, mind you. 'Midnight Ravers' is still enjoyable, with those cool little organ spices, and 'No More Trouble' has those cool harmonies. And 'Kinky Reggae'? Well, how did they manage to make a reggae song <em>sound</em> kinky, even without any lyrics? Is it those slightly dischordant notes, or the harmonies, or Bob's voice? Well, there you have it - social critique, Bob Marley style. And there's the album. Excellent, innit? If you have listened to the latter releases first, this will sound slightly "rougher" in production and songwriting, but you can't deny the talent and creativity. They surely started out well. The task of putting together a full LP, no matter how many singles they had previously put out, can be quite foreboding. But they truly pulled it off well. Kudos to them; they surely deserve it.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - There isn't any "let down" moment here, not at all.<br />
  <big>Resonance:   <strong>14/15</strong></big> - Ergh, is it <em>possible</em> to give Bob Marley &amp; The Wailers anything less than a 10 here, for any album?<br />
  <big>Originality: <strong>13/15</strong></big> - Hmm... this is a tough one. A Reggae connoisseur I'm <em>not</em>, but I don't think this album is unoriginal in the least.<br />
  <big>Richness:    <strong>14/15</strong></big> - Oh, yes! These guys sure can write good, rich songs.<br />
  <big>Solidness:   <strong>13/15</strong></big> - Rough? Yes, maybe, but highly enjoyable, and never loses me.
</p>

<p class="ratingFinale">
  Total: <img src="images/13.png" alt="13" />
</p>

<p>Baby, baby, we've got a <a href="mailto:sirmustapha@gmail.com">mail</a>.</p>

<hr />

<h2 id="burnin">Burnin' (1973)</h2>
<p class="medium">
  Best song: <big>I Shot The Sheriff</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Get Up, Stand Up <span class="good">+</span></li>
  <li>Hallelujah Time <span class="good">+</span></li>
  <li><span class="good">I Shot The Sheriff ++</span></li>
  <li>Burnin' And Lootin'</li>
  <li>Put It On <span class="good">+</span></li>
  <li>Small Axe <span class="good">+</span></li>
  <li>Pass It On</li>
  <li>Duppy Conqueror <span class="good">+</span></li>
  <li>One Foundation</li>
  <li>Rastaman Chant</li>
</ol>

<p>First you <strong>Catch A Fire</strong>, and then they leave you <strong>Burnin'</strong>. Hmm... I'm not sure at all if that's what they intended with these titles, but it kinda makes sense, doesn't it? But actually, this album is much less politically charged than the previous one. This album isn't a message to the stablishment, but it is a message to their fellow Rastas: a message of hope, strength and faith. Uplifting, eh? Yep, even the music is much lighter and brighter - even though the stand-out track here is the angry 'I Shot The Sheriff', where Marley sings about justice, claiming that he did shoot the sheriff, but it was in self-defence, and if he's guilty, he'll pay. And you won't forget that hook in the chorus and the fast, energetic groove that the band makes. This isn't a stand out track just because Clapton covered it. Nah, he probably covered it <em>because</em> it stood out so much. Ha!</p>

<p>What you'll notice, too, is that this is a much more collaborative effort. See, it's even credited to "The Wailers" instead of "Bob Marley &amp; The Wailers". Bunny Wailer takes the lead in a few tracks, and Tosh is also responsible for much of the sound here. And even the vocal harmonies are valued over lead singing, so you have a true "Wailers" album. This is definitely the one to pick up if you're curious about how the band works together. Also, a couple of these tracks are updated versious of previous Ska singles, like 'Put It On', 'Small Axe' and 'Duppy Conqueror'. I'm particularly fond of these three: 'Put It On' is as simple as it could be, with three chords, and the folks harmonising simple lines about feeling alright. But what a great, lovely vibe it carries! 'Small Axe', with it's wonderful line "If you're the big tree, we are the small axe sharpened to cut you down", was originally directed at a former rival music studio of theirs, called, no wonder, "Big T'ree". But it's ingeniously clever riff and the vocal hooks and priceless. 'Pass It On' slows the proceedings down with a lovely humane message ("Live for yourself, you will live in vain / live for others and you'll live again"), and Bunny's soft lead vocals; and 'Duppy Conqueror' brightens the mood with more words of strength.</p>

<p>Other highlights include the Bunny-led 'Hallelujah Time', with untrivial harmony twists and more smooth vocals, and, of course, the classic opening song, 'Get Up, Stand Up'. And these guys were <em>really</em> good at creating these simple, but striking anthems, weren't they? The message itself refers to the promise that God will come down from the sky some day, but in an interesting way: since the Rastas' messiah, H.I.M. Haile Sellasie, was alive at the time, they tell their fellow Rastamen not to give up the fight, instead of waiting for some promise that may or may not come true in the end. Fanatical Christians might be offended big time by this song, but I ain't fanatical for nothing. The album also ends on a largely religious note: 'One Foundation' has those big organs and Tosh's lead vocals, and 'Rastaman Chant' is... well, literally a Rastaman Chant, a religious chant well known by every Rasta. And it doesn't even sound too much like Reggae, but the way they sing it has something nifty about it.</p>

<p>The rating for this one is just a tad slow because there aren't any <em>AWESOME</em> tracks like 'Concrete Jungle', even though the album is very consistent. It's extremely enjoyable, too. And as we know, Bunny and Tosh left the band after this album was made. You see, since Chris Blackwell had so many contacts outside Jamaica before The Wailers signed in, <strong>Catch A Fire</strong> was released to the outside world mostly as a rock album, and they started to tour. And the truth is that Bunny and Peter weren't ready for the status of international stars. Bob, on the other hand, was more ambitious, and he took his role so firmly, with so much maturity, that... well, I don't need to say what happened afterwards, do I?</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Yes!<br />
  <big>Resonance:   <strong>14/15</strong></big> - Oh, don't make me explain this rating.<br />
  <big>Originality: <strong>13/15</strong></big> - These songs are fresh, aren't they? They were getting good at this.<br />
  <big>Richness:    <strong>12/15</strong></big> - You betcha. Several of these songs are prime examples, even though many of them were written years before.<br />
  <big>Solidness:   <strong>12/15</strong></big> - Surely!
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Any comments? Mail me! No link, sorry.</p>

<hr />

<h2 id="dread">Natty Dread (1974)</h2>
<p class="medium">
  Best song: <big>Rebel Music (3 O'Clock Roadblock)</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li><span class="good">Lively Up Yourself ++</span></li>
  <li><span class="good">No Woman No Cry ++</span></li>
  <li>Them Belly Full (But We Hungry) <span class="good">+</span></li>
  <li><span class="good">Rebel Music (3 O'Clock Roadblock) ++</span></li>
  <li>So Jah Seh <span class="good">+</span></li>
  <li>Natty Dread</li>
  <li>Bend Down Low</li>
  <li>Talkin' Blues <span class="good">+</span></li>
  <li>Revolution</li>
</ol>

<p>And so, The Wailers as we knew them were no more. But this was truly the beginning of a new stage for Marley: it is immediately noticeable how more mature and polished the songs are here - if a little bit more unidimensional, after all, there weren't collaborations from Peter and Bunny anymore. And not only he showed maturity and talent by creating the album practically by himself, but the critical acclaim and acknowledgement came with <em>this</em> record, that is still held as the finest Marley record by many. And, in fact, it's difficult to beat the streak of classics that opens the album. Each one of these four tracks is a classic in some way, and still, they aren't the only thing the album has to offer.</p>

<p>But "classics" aside, it's also noticeable that this album is much more positive and self-assured. Without the images of slavery and oppresion of <strong>Catch A Fire</strong> and the messages of union and friendship of <strong>Burnin'</strong>, Marley assumes the position of the Voice of the People and directs his messages at the big stablishment and politicians ('Rebel Music' and 'Them Belly Full'), while celebrating the good things of life and Jah's teachings with his people ('Lively Up Yourself' and 'So Jah Seh'). As a result, the album becomes extremely accessible, yet representative. It's not like Marley truly intended to sell the record to the white world, of course, but that's what happened.</p>

<p>And it's pretty hard to resist the almost ingenuous joy of the title track and 'Bend Down Low', for example, while it's nice to shake your head along to the socially-charged 'Talkin' Blues' and 'Revolution', that close the album. I will admit that 'Revolution' ends the album in a slightly disappointing note, with a lack of true musical substance. But 'Talkin' Blues' is good, and has the I-Threes supplying nifty backing vocals. 'Natty Dread' has an irresistible atmosphere, and I doubt you'll be annoyed at Marley's words of Rastafari pride. And what's with 'So Jah Seh'? Maybe it's just me, but do you notice that <em>samba</em> beat? It's almost... almost... not reggae! But reggae or no reggae, it's a very good song, with a cool beat, and awesome little piano riffs and vocals. Gotta love that percussion.</p>

<p>But, as futile as it may sound, nothing beats the opening tracks. Even though the entire album is good, the A side is one of Marley's finest achievements in his carreer. You have two real anthems of joy and innocent friendship, in the unifying 'Lively Up Yourself' and the touching 'No Woman No Cry', credited to Marley's childhood friend, Vincent Ford. Notice, though, that the version of 'No Woman No Cry' found here is very different from the famous, 7-minute version in the compilation <strong>Legend</strong>, that most everybody knows. The song here is a gentle little ballad, without the universalist power of the live version, but still excellent - the essence is the same. And 'Lively Up Yourself' is totally disarming, with its minor-key brass riff that turns out to be almost humourous, lost in the light, floating atmosphere of the song. It doesn't even sound stoned: it's really about the joy of simple things of life, or so it sounds like to me. The following two songs, though, change the mood and bring politically charged words of protest. Interesting to note that the rhythms of 'Them Belly Full' and 'Rebel Music' are practically the same as the one of 'Lively Up Yourself', yet the mood is radically different. How do they do that? A slightly more aggressive guitar chuck-chuck, minor key, tense harmonies... This is truly the art of simple things!</p>

<p>'Them Belly Full' is relatively short and simple, with infectious "na na na na" chants, and direct, unpretentious lyrics that are far more effective than they would be in the hands of a less talented musician. Bob could be a really mischievous fella when he wanted to, couldn't he? He warns the politicians that a hungry mob is an angry mob (and ain't that true), while he incites his people to be strong and dance to Jah music. Yep, the white bastards will pay for their crimes while the followers of Jah will dance all their way to Zion. Now <em>that's</em> charisma. 'Rebel Music (3 O'Clock Roadblock)', on the other hand, drops the subtle sarcasm and adopts a serious tone to deliver a true confrontation against the authorities. But even without the lyrics, the music itself is scarily serious and mesmerising. What could be better than the "Iiiiii, Rebel Music" chants in the chorus? Those guys <em>mean</em> it. Gotta love the little breaks before the choruses, the instrumental verse with the build up of tension, and... well, pretty much else. "Hey mr. Cop, ain't got no birth <em>cerfiticate</em> on me now". There's a great thing to say!</p>

<p>This might be the best first Marley purchase, after all. While you can just enjoy the rhythms and atmospheres at first, you'll slowly realise the subtle melodies that the band is playing and that Marley is singing. An exceptional A side, and a B side that holds up very well, this is a must-have album for any reggae fan. Of course, <em>every</em> Marley album is a must have to reggae fans, but this is a fine starting place. Oh, just ignore my random babbling and go check out the album yourself. You shall make your own conclusions, and <em>then</em>, you'll see what I'm trying to say.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>14/15</strong></big> - It begins very promising, and holds up very well until the end.<br />
  <big>Resonance:   <strong>15/15</strong></big> - Oh, come on, you know <em>I</em> wouldn't have the guts to deny the power of 'Rebel Music'.<br />
  <big>Originality: <strong>14/15</strong></big> - Hey, this Marley fella can do real wonders with Reggae, can't he?<br />
  <big>Richness:    <strong>14/15</strong></big> - Okay, it's not a <em>perfect</em> album, but it's close.<br />
  <big>Solidness:   <strong>13/15</strong></big> - I won't pretend it's perfect, anyway, so there you go.
</p>

<p class="ratingFinale">
  Total: <img src="images/14.png" alt="14" />
</p>

<p>Comments? Ideas? <a href="mailto:sirmustapha@gmail.com">Let me hear</a>!</p>

<hr />

<h2 id="vibration">Rastaman Vibration (1976)</h2>
<p class="medium">
  Best song: <big>War</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Positive Vibration <span class="good">+</span></li>
  <li>Roots, Rock, Reggae <span class="good">+</span></li>
  <li>Johnny Was <span class="good">+</span></li>
  <li>Cry To Me</li>
  <li>Want More</li>
  <li>Crazy Baldhead</li>
  <li>Who The Cap Fit <span class="good">+</span></li>
  <li>Night Shift</li>
  <li>War <span class="good">+</span></li>
  <li>Rat Race</li>
</ol>

<p>In case you didn't know, Marley's discography is a fairly consistent one. I don't think he ever did anything <em>actually</em> bad, or even solidly mediocre. I'm fairly sure that most Marley fans pretty much worship all of his albums, and each album has its reasons to be worshipped. Even this one, of course. This is Bob Marley focusing on a <em>message</em> for the people. But I'm not really a fan of Marley for his messages, so I'll give this album the relatively low rating of 11. And notice that 11 isn't at all a low rating, but taken in the scale of Marley's achievements, it's practically an abyss below the average. So I hope the Marley fans won't want to disembowel me for placing this album in the third quadrant of wacky rating glyphs, since an 11 is still above several other albums reviewed on this album. Plainly, <strong>Rastaman Vibration</strong> is a step below his best albums. It's good, but these ten tracks just <em>don't</em> compare to the previous ones.</p>

<p>And I'm talking about <em>music</em> here. Even though I'm not a sucker for Marley's messages and lyrics, he does a really good job here. Kudos to him, for this album conveys this message quite well. In fact, many people say this is the essential Marley album for finding out about his beliefs. It's a nice "summation" of his philosophy, even though it isn't the best place to look for outstanding Marley music. I <em>do</em> care about the message to some extent, but not as much as I do about music. And the music this album brings is just a little weaker than on the previous albums. But there are no weak songs at all: just kinda unmemorable ones, and a few that just go back to his earlier efforts. It also seems that some of these tracks were composed by Bob's bandmates, like Aston Barret's 'Want More'. Perhaps that explains the low (relatively speaking) quality of the album? Who knows.</p>

<p>There are no songs that reach the heights of 'Lively Up Yourself', 'I Shot The Sheriff' and 'Concrete Jungle', either, though most songs here are pleasant and quite driving. 'Positive Vibration' may not be as vibrant and uplifting as 'Lively Up Yourself', but it has those nifty call-and-response vocals in the chorus. That's quite a hook, though probably the only one. 'Roots, Rock, Reggae' <em>is</em> just Reggae music in its unadultered form, talking about the values of Reggae music itself as a sort of spiritual nourishment. And the vocals in those "Play I some music" and "Roots, rock, Reggae!" lines are something to look out for. On a more political note, there is the famous 'War', with words extracted from the speech given by H.I.M. Haile Selassie on the United Nations, and Marley makes quite a good work with them - adding that classic, unforgettable ascending riff to the brew, as well as the constant "War" backing chants by the I-Threes, that never become annoying - on the contrary, they get damned <em>hypnotic</em>. These guys really do know how to do it: just let the ladies sing "War" on every single measure, on the same chord, and you will be <em>sure</em> they're talking about a real war out there. You don't need nothing more - except for that classic riff, of course.</p>

<p>On a more "mellow" side, there's the sad 'Johnny Was', telling the tale of a mother who had her son killed by a policeman. And it uses those sad chords and beautiful vocals, as well as a more "ballad" rhythm instead of the usual chuck-chuck chuck-chuck. And there's 'Who The Cap Fit', with a great use of stringy synthesizer and the gorgeous, unforgettable patented backing vocals by the I-Threes. 'Cry To Me' has a fun, upbeat rhythm and something that sounds like an accordeon somewhere in the mix... hmm, could it be? There's a nifty hook there, too. 'Crazy Baldhead' is dark and low-key, though, starting with those frightening vocals by Bob and ending with some really groovy percussion effects. I also like 'Want More' with its repetitive, nagging vocals, and overall a good way to deliver the "now you get what you wanted, do you want more?"</p>

<p>I don't dislike this record at all. In fact, whenever I put it on, I know I will enjoy it. I don't think it's possible to actively dislike anything Bob did, and this record is no exception. And you can be sure that 'War', 'Roots, Rock, Reggae' and 'Johnny Was' are very good songs, and the rest doesn't really disappoint. The final result is just too weak to really compare with <strong>Natty Dread</strong> or <strong>Burnin'</strong>... Nah, I shouldn't make a fuss about it. There <em>has</em> to be a little lowpoint in an artist's carreer, hasn't it? Such a small oscillation shouldn't make you and me worry. Get this album if you see it, but just don't forget to get the better ones when you can. This can be a smooth introduction to the man, but it's hardly the "golden middle", as they say. You want golden middle? You listen next album!</p>

<p>Say, have you ever played <em>Chrono Trigger</em>?</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Yeah, sure, why not. I do like this stuff.<br />
  <big>Resonance:   <strong>14/15</strong></big> - You <em>know</em> I won't argue here.<br />
  <big>Originality: <strong>10/15</strong></big> - Okay, <em>this</em> is the main problem.<br />
  <big>Richness:    <strong>11/15</strong></big> - It could have had more of those hooks, y'know? It <em>does</em> carry a message through, though, so Marley's merits remain.<br />
  <big>Solidness:   <strong>10/15</strong></big> - Yeah, kind of.
</p>

<p class="ratingFinale">
  Total: <img src="images/11.png" alt="11" />
</p>

<p>Comments? Ideas? <a href="mailto:sirmustapha@gmail.com">Let me hear</a>!</p>

<hr />

<h2 id="exodus" class="best">Exodus (1977)</h2>
<p class="medium">
  Best song: <big>Exodus</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Natural Mystic <span class="good">+</span></li>
  <li>So Much Things To Say <span class="good">+</span></li>
  <li>Guiltiness</li>
  <li>The Heathen</li>
  <li><span class="good">Exodus ++</span></li>
  <li>Jamming <span class="good">+</span></li>
  <li><span class="good">Waiting In Vain ++</span></li>
  <li>Turn Your Lights Down Low</li>
  <li>Three Little Birds <span class="good">+</span></li>
  <li>One Love / People Get Ready <span class="good">+</span></li>
</ol>

<p>If you're not aware, this is a historically important album in Marley's carreer. Marley's house was invaded and he was shot, as well as his wife, Rita. The reasons are still unclear, but they are most probably related to the "Smile Jamaica" concert Marley would be doing around that time. They survived, of course, and amazingly, Marley did play in the concert. But short after that, he and his band had to move away from Jamaica and live in London. This album was recorded there, the first one after the incident. This may be the reason why the production is far more polished and professional. I suppose Marley was starting to get along with the foreign markets, and this also justifies some songs here that I could call... umm, Reggae Pop - in the sense that they are more "accessible" and light, both musically and lyrically. The best example is 'Jamming', of course: one of Marley's biggest hits worldwide. It's not hard to see why the song was so successful: it's happy, invitative, uplifting, and still has the pure, unadultered rootsy reggae spirit. I doubt Marley was really writing this song to be a commercial success, and all the way he sings those lines are sincere, and directed to his Rastafari fellows, not to the white world. The second example is also on side B, 'Turn Your Lights Down Low', the closest Marley ever got to a romantic pop song. And it is a really beautiful, warm song, with a sincere feeling on it. It doesn't sound much like reggae, but it only shows Marley's maturity in dabbling with other ways of presenting his simple, na&iuml;ve melodies. But listening to this track, I can see why some hardcore Rastafarians can accuse Reggae of being a sell-out to Babylon...</p>

<p>But the most impressive tracks are the, erm, "non-pop" ones - not because they're "non-pop", but just because they're better. See, there's another romantic tune here, and it's the absolutely wonderful 'Waiting In Vain'. It's even richer and "closer" to the listener than 'Turn Your Lights Down Low'. But notice that side A is extremelly religious, with a pinch of social critique in the middle. But this is more like a real religious celebration, beginning with 'Natural Mystic', one of Marley's most mesmerising Reggae grooves. It must be the way that rhythm and instrumentation are more "fluid", and the bassline is as simple and hypnotic as you can get. 'So Much Things To Say' is catchy, with beautiful work by the I-Threes, and it leads into 'Guiltiness', Marley's moment of reflection on the oppressors of the black Jamaican people. But it's really just a reassurement that they will pay for their crimes someday, not a scary, threatening chant. 'The Heathen' gets close to that, though: a call to arms with some rather ominous chants on the chorus. But the most impressive moment is, by far, the title track: a seven minute minor-key monster, one of the best tracks, if not <em>THE</em> very best track, in Marley's entire catalogue. If the song makes you think of <strong>Remain In Light</strong>, don't be surprised, 'cause I was reminded of it too. Just see: it's long, repetitive and mesmerising, though much slower than the A-side tracks of that album. It's not 'Listening Wind', of course, for this one doesn't have the atmospheric Eno treatments. When did it need those, anyway? 'Exodus' is a better song, anyway. You have the unusual, synchopated guitar rhythm that clashes against the "usual" rhythm of the percussion, creating a magnificent effect. And Marley adds those powerful vocals and chants from his backing vocalists, moody low-pitched piano riffs, strategic brass stabs and those eerie, dub-ish echo effects at the end, and the result is an unstoppable groove that could definitely put any naysayer down to his knees; one of the most physically "moving" songs I've ever heard in my life. What an amazing track.</p>

<p>It was probably that song that <em>truly</em> convinced me of Marley's talent. I could go as far as to say that you haven't heard everything Reggae has to offer if you haven't listened to 'Exodus'. You know, isn't it amazing how those people can sing songs about moving to the Promised Land without sounding overreaching or silly <em>at all</em>? Why can't <em>we</em>, Christians, do that? Why almost all Christian songs sound unbearably cheesey or unbearably pompous? U2 did a great job with it many times, but even they fell in the "pompous" side of the land often. It only goes to show that true, honest faith can only do good for people: forget all the manipulation and ignorance of the Christian church. Believing that a world of freedom and peace can exist gives people strength and will to live, be friends and love one another. <em>This</em> is faith, pals, so all the self-important smartarse atheists with poles up their butts can live happily with all their intelligence and superiority that is better than any god, that I'd prefer to be a Rasta than to be one of them. There, I insulted the atheists, and now I can talk about the two closing tracks of the album, two songs of pure joy and friendship: 'Three Little Birds', with an irresistible organ riff and the lyrics "don't worry about a thing 'cause every little thing's gonna be alright", and 'One Love / People Get Ready', an adaptation of an old Ska song, bringing another great, uplifting line: "Let's get together and feel alright". Would you resist those pleads if you heard them in person? I know I wouldn't. Goodness, why can't we have such uplifting songs in <em>our</em> music? Everywhere now, we only get Limp Pigshits, Anvil Lavignes and Effervescences, and not a single Bob Marley to show us the beauty and joy of simple things. Blah. At least, Brazilians can be happy at having one Gilberto Gil that also appreciates the beauty of Reggae. Have you heard his album <strong>Kaya N'gandaya</strong>? It's entirely made of adaptations of Marley songs, and it's brilliant. I particularly recommend his terrific adaptation of 'Three Little Birds', but I know you don't care about my recommendations, anyway. Fuck off.</p>

<p>Time Magazing also called this album the "Album of the Century"... Interesting choice, I'd say.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>15/15</strong></big> - I dunno if I feel totally comfortable giving this 10, but I don't see why I should rate it any lower.<br />
  <big>Resonance:   <strong>15/15</strong></big> - Hah! From 'Exodus' to 'Turn Your Lights Down Low', this is Bob Marley we're talking about.<br />
  <big>Originality: <strong>15/15</strong></big> - Well, all of this material is fresh. No matter how samey Reggae may sound to you, Marley didn't like repeating himself.<br />
  <big>Richness:    <strong>15/15</strong></big> - Oh, yes! No doubt about that.<br />
  <big>Solidness:   <strong>14/15</strong></big> - One of his most consistent records.
</p>

<p class="ratingFinale">
  Total: <img src="images/15.png" alt="15" />
</p>

<p>I don't wanna wait in vain for your <a href="mailto:sirmustapha@gmail.com">mail</a>.</p>

<hr />

<h2 id="kaya">Kaya (1978)</h2>
<p class="medium">
  Best song: <big>Is This Love</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Easy Skanking <span class="good">+</span></li>
  <li>Kaya <span class="good">+</span></li>
  <li><span class="good">Is This Love ++</span></li>
  <li>Sun Is Shining <span class="good">+</span></li>
  <li><span class="good">Satisfy My Soul ++</span></li>
  <li>She's Gone</li>
  <li>Misty Morning</li>
  <li>Crisis</li>
  <li>Running Away</li>
  <li>Time Will Tell <span class="good">+</span></li>
</ol>

<p>Warmer and more romantic this time around; I guess not even Marley could keep pumping out albums like <strong>Exodus</strong> every day... You know, what's the plural of "Exodus" anyway? It definitely isn't "Exoduses", so I guess it would be "Exodi"? Both ways sound pretty clumsy, don't they? I mean, I don't remember if "Exodus" is of Latin origin, and if its plural should end with "i" like every other word that ends with "us". You remember that, don't you? Virus -&gt; Viri; Campus -&gt; Campi; Exodus -&gt; Exodi... Whatever, this is a review for <strong>Kaya</strong>, so <strong>Kaya</strong> it is.</p>

<p>"Kaya" is a Rasta word for "Ganja", that is, of course, a word for "Pot". So, when Bob says he "gotta have Kaya now", he just wants to smoke a spliff - if that wasn't clear enough for you. Well, several songs here have that ganja overtone to them, and I suppose 'Misty Morning' also alludes to that. But what truly matters is the music here. It's as great as ever! Yeah! Stronger than <strong>Rastaman Vibration</strong>, I assure you. I like it when Bob Marley settles down with a set of romantic, catchy and pleasant songs like these. He doesn't need to go religious and political <em>all the time</em>, and when his romance and ganja smokin' is as well written as this, it can stick out for a long while. Sell out my arse. I won't question why some Rastas accuse Bob Marley of such, even though I never really saw one single drop of sell out in any of his songs. Even the poppier ones on the previous album were sincere enough. And these are even more. I mean, can you possibly resist the atmosphere and gentle hooks of 'Easy Skanking', with the I-Threes "taking it easy" and "taking it slow"? And the title track has that bouncy rhythm and super fun synth, along with the rising "got to have Kaya now" lines, that really lift you up so high, you even touch the sky. Oh, such fun stuff.</p>

<p>To be honest, one of these songs was <em>really</em> played very often around here, and pretty much became Bob's signature song in Brazil. And I guess it did in several other places as well, since it <em>opens</em> the famous <strong>Legend</strong> compilation. And I guess I got slightly sick and unimpressed with 'Is This Love' after all this time, but listening to it on this album, it became clear as water why this song was played so much: because it's danged amazing! There's a huge, solid hook in every corner of this song! The classic riff that opens the song and runs through all verses; the "is this love is this love is this love is this love that I'm feelin'?" chorus; the tingly riff that comes afterwards; the "ooo hooo-oo hooo-oo" backing vocals by the I-Threes; not to mention the gentle love lyrics, the warm vocals and the fluid rhythm; how many goodies can you cound there? This song is an unstoppable onslaught of catchiness and pure songwriting talent.</p>

<p>As you may predict, no other song here reaches that height... Okay, maybe 'Satisfy My Soul' does: it's a genuinely gorgeous anthem of love, with Marley making justice to his performance on 'Waiting In Vain'. But that's the only one. The other tracks are still pleasant, sometimes touching, sometimes fun. You have 'She's Gone', with melancholic words of lost love set to a rather upbeat Reggae rhythm, and 'Misty Morning', with a great manipulation of synchopated rhythms and cool, strummed chords on the acoustic guitar, producing that bright sound clashing against the "mist". And there is 'Sun Is Shining', with somewhat playful music set to a minor-key and 'ominous' sounding music. 'Crisis' has a mysterious vibe with low guitar notes being plucked, and is quite the kind of reggae I really like to hear, and 'Running Away' is a mysterious, whispery tune with an almost sarcastic tone.</p>

<p>Yep, it's a very pleasant ride of very good reggae music. Steady, consistent and thoroughly enjoyable. And it ends with another wonderful religious statement in 'Time Will Tell', with sometimes that sounds almost like a mandolin... Hmm, could it be? It's a cool thought, eh? I don't know if Reggae artists feel comfortable with mandolins, but there ya go. It isn't quite a "major" album, but it's one of his nicest. Yup, a 12-worthy album. This man never ceases being good.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - Uh huh, surely!<br />
  <big>Resonance:   <strong>14/15</strong></big> - No doubt here. This is as strong a 10 as it could possibly be.<br />
  <big>Originality: <strong>12/15</strong></big> - Fresh and original, yep.<br />
  <big>Richness:    <strong>12/15</strong></big> - Rich, pretty much all the way through.<br />
  <big>Solidness:   <strong>12/15</strong></big> - Uh huh! It never loses you.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p>Is this <a href="mailto:sirmustapha@gmail.com">mail</a>, is this <a href="mailto:sirmustapha@gmail.com">mail</a>, is this <a href="mailto:sirmustapha@gmail.com">mail</a>, is this <a href="mailto:sirmustapha@gmail.com">mail</a> that I'm receivin'?</p>

<hr />

<h2 id="survival">Survival (1979)</h2>
<p class="medium">
  Best song: <big>Africa Unite</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>So Much Trouble In The World <span class="good">+</span></li>
  <li>Zimbabwe</li>
  <li>Top Rankin'</li>
  <li>Babylon System <span class="good">+</span></li>
  <li>Survival</li>
  <li>Africa Unite <span class="good">+</span></li>
  <li>One Drop <span class="good">+</span></li>
  <li>Ride Natty Ride</li>
  <li>Ambush In The Night <span class="good">+</span></li>
  <li>Wake Up And Live</li>
</ol>

<p>Perhaps frustrated with some people thinking he was selling out to Babylon, or afraid that they were actually right, Robert whacked himself in the head and got down to make some <em>rootsy</em> Reggae music to his Jamaican fellows. And yes, this is one of his most "rootsy" albums ever, and it shows Bob didn't care anymore about what was accessible and commercial. Not only the music is very focused, but the entire album deals with the oppressed Rastafarians and Jamaicans in an extremely direct way. And no sideways and subtle one-liners or whatever: this is an open letter of hope and strength to his people. No matter how much oppression and injustice, Bob always held his head high. And listening to this, I can understand why Morissey would say that Reggae is the most racist music there is, stating the superiority of black people. Yep, I said UNDERSTAND, not AGREE WITH. I mean, would I <em>agree</em> with Morissey? Would I even CARE about <em>Morissey</em>? Yeah. Meat is murder, man.</p>

<p>(I just remembered that Rastafarians are vegetarian, but those are <em>religious</em> reasons, so an exception is opened)</p>

<p>Anyway. Yep, I did say this album is very Roots and focused to his people. But that's not at all the reason why this album falls a bit short of entertaning and satisfying me completely. You know... I just don't feed on this kind of music, so I'm always left expecting a little more. Even <strong>Rastaman Vibration</strong> is more enjoyable than this, you know. But, unlike some people, I'm not saying it isn't good. Contrary to what you may think, there are quite a couple of moments here that are very catchy, and very meaty. So, along with the Rasta vibe and the message, you get plenty of perfectly good Reggae music. No doubt the Rastafarians and hardcore Marley fans love this record to death - there's very, very little to be 'disliked' about it. Say, there's no real "subjective" reason why this should be <em>worse</em> than <strong>Natty Dread</strong>, is there? It's just the way the album sounds, you know. It's the <em>music</em>. There isn't much here to sink your teeth on - I'll even say that you'll only like it <em>for real</em> if you give in completely to the Reggae philosophies, and if you don't, you'll not feel the real power of the album. And it's not that I don't want to give in to Reggae: I just can't. I'm not that kind of person. I <em>love</em> Bob Marley's music, but from an "outside" position.</p>

<p>You see, there are quite a couple of "classics" here, even though they might have reached that status for their Reggae "soul" and the message Bob delivers. Still, the songs themselves are <em>good</em>, the players are as professional and competent as ever, the band is extremely well gelled, the I-Threes are as fantastic-sounding as ever, and Bob himself is free like he was never before. 'So Much Trouble In The World' opens the album, and if the chorus doesn't get stuck to your head, you're <em>not</em> willing to give the album a chance. The song's different "parts", the call-and-response between Bob and the I-Threes, the little synth embellishments... All quality Reggae music, damn it.</p>

<p>But you should remember that the album isn't an angry, disturbing political statement: It's a message of hope and strength (true to its title), so most of it is quite mellow. 'Africa Unite' has a great, relaxed vibe, another classy hook, and its simplicity is as striking as it could be - "Africa, unite! 'Cause we're moving right out of Babylon!" You don't need much else. Babylon is referenced again in 'Babylon System', this time with a "tribal" rhythm going back to 'Rasta Man Chant', and still fun - though not as catchy. 'Zimbabwe' has got more subtle hooks, 'One Drop' has an unforgettable "I know Jah never let us down" line, and 'Ambush In The Night' references the assault that almost took his life two years before in a surprising way. Overall, the music is traditional Reggae that we had from Bob many times before. But I'm perfectly able to enjoy this album. Others may be bored by the sameyness of 'Wake Up And Live' and the title track, and I have to admit I don't <em>personally</em> hold this album as high as <strong>Kaya</strong> or <strong>Burnin'</strong>, for example. But I can listen to it any time of the day. After all, all of Bob's albums are good, and unless I'm urging to listen to a <em>specific</em> album, any Bob Marley will do the trick if I'm in a Reggae mood. And this is no exception. Still, it's an 10, but don't take offence. I feel perfectly comfortable with anyone who holds this album as his personal favourite. After all, <em>any</em> Bob Marley &amp; The Wailers album can be anyone's personal favourite, because like I said before, they're all good, and all have their reasons to be adored. It's all down not only to personal taste, but to personal <em>beliefs</em>. Don't count me as a <strong>Survival</strong> fan, but still, consider me satisfied.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>10/15</strong></big> - Yes, I can enjoy this!<br />
  <big>Resonance:   <strong>13/15</strong></big> - You know, Marley and his band <em>means</em> this stuff. It just doesn't come accross too well to me.<br />
  <big>Originality: <strong>9/15</strong></big> - Consider this personal preference. His previous albums smell fresher than this one.<br />
  <big>Richness:    <strong>9/15</strong></big> - Same as above. Please, don't hate me.<br />
  <big>Solidness:   <strong>9/15</strong></big> - Perhaps a bit samey at times?
</p>

<p class="ratingFinale">
  Total: <img src="images/10.png" alt="10" />
</p>

<p><input type="button" value="Click here to see something awesome!" name="botao" onclick="javascript: alert('Mail me at sirmustapha@gmail.com!');" /></p>

<hr />

<h2 id="uprising">Uprising (1980)</h2>
<p class="medium">
  Best song: <big>Could You Be Loved</big><em>, but the bigger glory should go to </em><big>Redemption Song</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Coming In From The Cold <span class="good">+</span></li>
  <li>Real Situation <span class="good">+</span></li>
  <li>Bad Card</li>
  <li>We And Dem</li>
  <li>Work</li>
  <li>Zion Train</li>
  <li>Pimper's Paradise</li>
  <li><span class="good">Could You Be Loved ++</span></li>
  <li>Forever Loving Jah <span class="good">+</span></li>
  <li><span class="good">Redemption Song ++</span></li>
</ol>

<p>Well, Mr. Marley was up to no shit at this time. He steps away even more from the "pop" stylistics he flirted with in <strong>Kaya</strong> and other releases, and goes even more rootsy with this one. But the lyrical thematics are less politically charged this time. Instead of sending his vibes over to Africa, he's talking about his Jamaican fellows, this time. These songs have a more social and religious tone to them, and some of them are even quite pessimistic. What does he mean when he says "we don't know how we and dem gonna work this out", and that it isn't even worth trying because "no one can stop 'them' now"? Hmm...</p>

<p>Anyway, as far as music is concerned, I said already that there are even less of those pop stylistics of yore. And with that, I mean that the songs are more minimal, repetitive and mantraic - almost in a "let's make more with less" approach. Maybe this was his stab at being <em>simple</em> and effective. And I guess he was, but I assume many "outside" listeners may find this album more boring than the others: fewer hooks and catchy moments, fewer recognisable patterns and different parts in each song, and so on. But I also assume that the <em>real</em> Reggae hardcore fans who <em>live</em> among it will <em>dig</em> it! So, who am I to judge? I'm an outside listener! BUT... You know, I might sound contradictory for placing <strong>Survival</strong> so low in my Marley rankings and putting this one above it. But the fact is that <strong>Uprising</strong> manages to seduce and captivate me much more efficiently than the previous one did because of its simplicity. It's welcoming and charming, cheerful at times, sad at other times. It's a more "open" album, though it's also kinda hard to enjoy. But overall, it's a much warmer album, and some of the songs here are <em>really</em> good.</p>

<p>Bob Marley &amp; his wailing fellas are doing a good job here. The vibe is here; the Reggae rhythms are all here; the soulfulness is all here. See? It's all fine and dandy. But what I'll say is that, overall, I enjoy this album a little less than his earlier ones. Why? Personal taste. Yep, I <em>do</em> prefer listening to those uber-catchy Marley songs rather than these. I believe 'Bad Card' and 'Work' are fine and dandy songs. They're just a bit low in my score. But they're still good! Filled with those embellishments and little work-outs they could do so well, and, of course, the vibe. 'We And Them' even has some pretty weird chords changes, and 'Zion Train' has a catchy hook in the chorus. 'Coming In From The Cold' and 'Real Situation', now, <em>those</em> are FINE songs! The first one is fun, catchy and invitative - almost like 'Lively Up Yourself', but less universalistic and more down-to-Earth somehow. And the latter is... quite depressing, in fact, but it sounds so damn pleasant! Bob sure had some dirty tricks up his sleeves.</p>

<p>Well, that is a solid batch of songs, together with 'Pimper's Paradise'. Now, what's that rhythm I see there? It <em>is</em> slow reggae, but it has a certain beat to it... Hmm, interesting. Oh, yes, the lyrics are about a girl - unless Bob was making a clever metaphor, but I think it's about a girl. Now, the closing trio of songs <em>more</em> than make the album worth owning (unless you're a cheapskate and go towards <strong>Legend</strong>, but I'm not even sure if that one includes all these three songs). First, we have the totally outstanding 'Could You Be Loved'. For one, Bob pulls all stops and makes a <em>fast</em>, <em>dancey</em> Reggae tune, with Discoey drums and all. But, man, it's that glorious hook in the chorus that MAKES the song! It's such a simple sequence of notes, but the conviction and power behind those people's voices almost drives me to tears. Memorable and catchy as HELL, if you ask me! Classic! The chuckin' guitar running all the way through it, the little guitar embellishments before the aforementioned hook, the ominous, driving vocals by the I-Threes... that's more than necessary to make the song rule mercilessly!</p>

<p>Oh, yes, going on. 'Forever Loving Jah' goes on the religious direction, also with a minimal and repetitive style, but once again: these guys truly sound convincing. The "weeee'll beeeee forever loving JAH!" chants are totally catchy, and Bob does a memorable effort, too. And to close things off... Well, there's 'Redemption Song'. What could be said about that song? <em>What could be said about that song?</em> Acoustic ballads don't get much better than this - in fact, I almost believe acoustic ballads don't get <em>any</em> better than this. It's just Bob and his acoustic, and it isn't even Reggae proper: it's a Folk anthem! And it captures Bob in his most vulnerable, confessional and <em>sincere</em> moment, but he doesn't sound frail at all. It's truly moving! Wonderful introductory melody, wonderful vocal melody, and a shiver-inducing performance. Remember those acoustic ditties Syd Barrett recorded on <strong>The Madcap Laughs</strong> that were more than a perfect portrait of a genius collapsing into madness? Well, it works likewise with 'Redemption Song', but it doesn't depict madness: you can almost hear the man's <em>spirit</em> singing. And remember that this song <em>closes</em> the man's carreer, and was the last song he performed in his last concert ever. How mythical is that?</p>

<p>Bob Marley died of cancer in 1981. The man was more than a legend. He wasn't just a musician, man, he was much more than that. You don't see men like Bob Marley every day in your life. The man was a warrior. And I don't believe there could possibly be a better song than 'Redemption Song' to close not only his carreer, but his <em>life</em>. All he ever had were redemption songs, he tells us. Bah, I'm babbling. Yes, this gets an 11, a relatively low rating, but don't bother. Go buy the album. While this might not be the smoothest introduction to his music, you pretty much <em>need</em> it if you're a fan. Beautiful album.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>12/15</strong></big> - Repetitive, but very pleasant.<br />
  <big>Resonance:   <strong>15/15</strong></big> - Those closing tracks grant this one a 15.<br />
  <big>Originality: <strong>10/15</strong></big> - Aside from a few surprising spots, there isn't anything really <em>different</em> here. Though everything is fresh.<br />
  <big>Richness:    <strong>11/15</strong></big> - When there is good stuff, there is <em>good</em> stuff.<br />
  <big>Solidness:   <strong>10/15</strong></big> - Not a <em>terribly</em> solid one, but the final tracks do save it.
</p>

<p class="ratingFinale">
  Total: <img src="images/11.png" alt="11" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Mailer's Paradise</a>.</p>

<hr />

<h2 id="confrontation">Confrontation (1983)</h2>
<p class="medium">
  Best song: <big>Buffalo Soldier</big>
</p>
<div class="medium">
  Track list:
</div>
<ol class="trackList">
  <li>Chant Down Babylon <span class="good">+</span></li>
  <li><span class="good">Buffalo Soldier ++</span></li>
  <li>Jump Nyabinghi <span class="good">+</span></li>
  <li>Mix Up, Mix Up</li>
  <li><span class="good">Give Thanks And Praises ++</span></li>
  <li>Blackman Redemption</li>
  <li>Trench Town <span class="good">+</span></li>
  <li>Stiff Necked Fools <span class="good">+</span></li>
  <li>I Know <span class="good">+</span></li>
  <li>Rastaman Live Up</li>
</ol>

<p>Don't take this as a bad joke: but if you didn't know that Bob Marley died in 1981, you could swear this was just another album by him. But, of course, he <em>did</em> die in 1981, sadly, and this album is a collection of unreleased tracks and B-sides and such. The record was mostly put together by Bob's wife, Rita Marley, and I have to say: she did a really good job. If there's one thing any record company executive could have done is a "homage" album with that awful spirit of "Bob is dead, but his spirit lives on" and subpar material, only to suck money from the poor fans. But, of course, Rita wasn't interested in sucking money from the poor fans like a bastard executive. No. Her intention was to really put together an <em>album</em> that would make justice to Bob's legacy. And so she did.</p>

<p>Fistly, all songs are good. <em>None</em> of these songs sound like outtakes and inferior rejects from previous albums. Secondly, like I said before, it could very well be just another album by Bob Marley &amp; The Wailers. There's no cheesy "tribute" feeling anywhere here, and what you'll hear is a rock solid collection of celebrative, exhuberant and uplifting songs, brimming with catchiness and <em>joy</em>. Here, Bob sings about the happiness of being who he is, and the joy of being together with his people. He sings of happiness, faith and hope, in spite of the alarming title and album cover. If you look closely, you'll notice that the titles of the three final Bob albums form a sequence: "<strong>Survival</strong>, <strong>Uprising</strong> and <strong>Confrontation</strong>". Of course, it wasn't <em>ME</em> who first noticed that: I just saw it in the most excellent book about Bob Marley's life, <em>Catch A Fire</em>. But this isn't an album about battles and fights. Their weapons are exactly the happiness, faith and hope I mentioned before.</p>

<p>So, it's quite nice to see such <em>happy</em> songs gathered here. Even though there are lots of celebrative songs in the eight previous albums, none of the <em>albums</em> themselves were so light and joyful. So, if you're willing to groove along to some reggae just for fun, or when you're feeling particularly happy, put this puppy on! With such <em>good</em> songs, you'll hardly be disappointed. 'Chant Down Babylon', 'Jump Nyabinghi' are as catchy as ever, to begin with; 'Mix Up, Mix Up' has a weird little synth-propelled groove; and you even have a quite surprising dabbling on "Disco-Reggae", in 'I Know'. The groovy reggae vibe and the keyboard chords and the steady drums form a quite great brew.</p>

<p>Just as such, you have a few more relaxed, introspective songs. 'Trench Town' is just plain <em>beautiful</em>, simply put; and 'Give Thanks And Praises' is absolutely disarming. Bob presented his religious views <em>many</em> times before, in his music, but never he did such a song: it's very slow, hushed and quiet, and his words are so painfully honest and sincere, it just hurts. "So guide and protect I and I, oh Jah, Jah," he sings. I know I ranted about this before, but why can't any Christian pull of such a feat? I don't think I ever heard a Christian song sound so sincere, convincing and heartwarming as this one. 'Buffalo Soldier' is the only "hit" of the album, and a damn well-deserved one. The lyrics recall the black people that were brought into America to fight against the native indians, and were honoured and called "Buffalo Soldiers". Marley's simple, memorable and catchy-as-hell melody totally matches the lyrics, and the "Wo-yo-yo" chants are total delight. Just beautiful! Once again, just the conviction in these guys is enough to make the song memorable.</p>

<p>In the final track, the album softens somewhat with 'Rastaman Live Up'. It's not particularly impressive, aside from the fact that it's the lengthiest track here: five minutes and a half. But it's very stripped down and minimal, and that tends to make the song a little <em>too</em> repetitive and void for me. Of course, others might dig the pure vibe of the song, and that's ok by me. Anyway, how could I let such a song reduce the album rating, especially when there's a song like 'Stiff Necked Fools'? The lyrics aren't any humourous, but the little organ riff and Marley's bright vocals make it very fun to sing along to "Stiff necked fools, you think you are cool to deny me for 'simplicity'!" Man, is that an awesome thing to say! Remember, if you see someone dissing Marley for being too simple, you'll know who Marley is talking about here!</p>

<p>Anyway, more kudos to Bob for writing such beautiful songs, and kleos to Rita for putting them together and releasing them in such a beautiful package. Man, these guys are cool. Now, once you get this one, you'll probably want to stay away from all those numerous compilations and "homages" to Bob. Of course, there are some Bob Marley songs prior to <strong>Catch A Fire</strong> that are floating around in certain CDs, but I won't go around collecting those rarities. It's a pretty tough job, you know. Sorry, Bob. One good alternative is the 4CD boxset <strong>Songs Of Freedom</strong>, that seems to be an excellent one. Get it if you have the money. I know I don't.</p>

<p class="ratingHeader">
  Rating:
</p>

<p class="rating">
  <big>Fun factor:  <strong>13/15</strong></big> - Heh, this is <em>very</em> nice.<br />
  <big>Resonance:   <strong>14/15</strong></big> - Uh huh.<br />
  <big>Originality: <strong>11/15</strong></big> - Yeah, well, nothing horribly new, but everything is obviously fresh.<br />
  <big>Richness:    <strong>12/15</strong></big> - These songs are good stuff!<br />
  <big>Solidness:   <strong>12/15</strong></big> - Quite good for a compilation of odds and ends.
</p>

<p class="ratingFinale">
  Total: <img src="images/12.png" alt="12" />
</p>

<p><a href="mailto:sirmustapha@gmail.com">Mail me</a>.</p>

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